TG, c/o PRIMARY, 33 Seely Road, Nottingham NG7 1NU

Samuel Jeffery

Installation view of Samuel Jeffery

Samuel Jeffery's white monochrome paintings are explored by Alice Gale-Feeny. In these she finds connections to landscape, Ben Nicholson and De Stijl.

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NEW STUDIO, 4-17 Frederick Terrace, London, E8 4EW

Sophie Dupont: Marking Breath

Marking Breath, Saturday 18 April 2015, 5:57 am - 8:02 pm (sunrise to sunset), performed at NEW STUDIO, London

A whitewashed studio in a former fabric-cutting factory was the setting for 'Marking Breath', a daylong performance by Danish artist Sophie Dupont.

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The Royal Standard, Unit 3, Vauxhall Business Centre 131 Vauxhall Road, Liverpool L3 6BN UK

External Machines

External Machines, Installation View

Group show 'External Machines' investigates the tension between ideas of constriction and relief - whether they be theoretical, physical, self-imposed or out of necessity.

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Modern Art Oxford, 30 Pembroke Street, Oxford OX1 1BP

Deborah Delmar Corp.: Upward Mobility

Deborah Delmar Corp.: Upward Mobility Upper Gallery, Modern Art Oxford 2015

Since 2009 Débora Delmar has called herself ‘Corp.' for corporation, extending her persona into a series of merchandising and artworks appropriating corporate imagery. Review by Francesca Laura Cavallo

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Hauser & Wirth New York, 511 West 18th Street, New York NY 10011

Subodh Gupta: Seven Billion Light Years

Installation view, ‘Subodh Gupta. Seven Billion Light Years’, Hauser & Wirth New York, 18th Street, 2015

Materiality, communication and the collapse of global and local spheres are combined in Subodh Gupta’s large-scale exhibition at Hauser & Wirth, New York. Review by Louisa Lee

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Museo Guggenheim Bilbao, Avenida Abandoibarra, 2 48009 Bilbao, Spain

Niki de Saint Phalle

Bathing Beauty, 1967-68, Dancing Nana Anna, 1966, Black Nana Upside Down, 1965-66, Nana with her Leg in the Air, ca. 1966

Anneka French reviews a retrospective of Niki de Saint Phalle, finding that the best of the artist’s works draw deeply from the intensity of her personal experiences.

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Whitechapel Gallery, 77-82 Whitechapel High St, London, E1 7QX, 16 April 2015

Whitechapel Gallery : Out of Time, Out of Place: Public Art (Now) talk

Claire Doherty, Director of Situations, and Magdalena Malm, Director of Public Art Agency Sweden, join Nato Thompson, Chief Curator of Creative Time, and artist Heather Morison to discuss the risks, delights and challenges of producing new progressive forms of public art.

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VITRINE Bermondsey Street, 183 – 185 Bermondsey Street, London SE1 3UW & VITRINE Bermondsey Square, Bermondsey Square, London SE1 3UN

Tim Etchells: The Facts on the Ground

Who Knows (installation view)

Alexandra Warder reviews Tim Etchells' 'The Facts on the Ground'. The exhibition negotiates between what is meant, what is seen and what is heard, exploring the space between cultural conventions and subjectivity.

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London

Unlimited Commissions

The nine Unlimited commissions for 2015-16 span a wide range of disciplines – including theatre, visual arts, dance and literature – and are created by some of the most talented disabled artists in the UK.

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Edel Assanti, 74A Newman Street, London W1T 3DB

Jodie Carey

Installation view

Jodie Carey explores the monumental juxtaposed with materials that evoke fragility and vulnerability. Zoë Lippett reviews Carey's new works conceived for Edel Assanti's new gallery space.

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KW Institute for Contemporary Art, Auguststraße 69, D-10117 Berlin

Elín Hansdóttir: SUSPENSION OF DISBELIEF

SUSPENSION OF DISBELIEF, Installation View

Icelandic artist Elín Hansdóttir's site-specific piece 'SUSPENSION OF DISBELIEF' takes KW Institute for Contemporary Art's architecture - a former margarine factory - as a point of departure for a new spatial and filmic installation.

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Zolla/Lieberman, 325 W Huron St #1E, Chicago, IL 60654

Erika Rothenberg: House of Cards

Erika Rothenberg: House of Cards detail, 1992-2015

Over twenty years since its initial MoMA commission in 1992, Erika Rothenberg’s ‘House of Cards’ (1992-2015) still cuts right at the heart of caricatured American culture and values. Review by Rebecca Travis

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